On Nov 24th, 1980, Dizzy Gillespie invited 5 jazz legends - Milt Jackson, James Moody, Hank Jones, Ray Brown & Philly Joe Jones - to join him onstage in Montreal to play tribute to the legendary Charlie Parker. A limited quantity bootleg LP of the concert soon appeared and then disappeared from the marketplace and the tapes lay dormant for over 30 years. The pristinely restored “Concert of the Century” is now available on audiophile 180 gram 2LP vinyl and CD via the Justin Time Essentials Collection.

This edition of the Great Jazz Trio features Hank Jones with bassist Eddie Gomez and drummer Al Foster in a release recorded in the U.S. for issue in Japan. Jones contributes three originals to the session: the twisting bop line of "Duplex," the subtle ballad "Sublime," and the strutting blues "Peedlum." He switches to electric piano for the bassist's moody "Light Listened" and Foster's ineffective samba "Just Before Dawn," which comes across very dated and muddy. A crisp flight through "Ornithology" and a dreamy waltz through "Stella by Starlight" feature Jones back on the Steinway to show off his considerable chops.

There are a playfulness and charm underneath Jones' solos that repeatedly surface throughout his excellent renditions on this disc dedicated to Fats Waller's music. While 10 of the 16 songs are Waller compositions, those that aren't, like "How Come You Do Me Like You Do" and "Your Feet's Too Big," are closely identified with him. Jones' flourishes, expert handling of stride rhythms, and delicate but skillful reworkings not only capture the flavor Waller brought to such songs as "Ain't Misbehavin'," "Honeysuckle Rose" and the title track, but add his character to them with tricky phrases, quick melodies and nimble lines.

The All Art Jazz label's In Japan (1979), is a fine release from veteran pianist Hank Jones who, with the assistance of bassist George Duvivier and drummer Shelly Manne (both of whom have plenty of short solos), is heard throughout in top form. The tasteful and swinging trio session is highlighted by "Blue Lou," "Cotton Tail," "Polka Dots and Moonbeams," and "Yardbird Suite."

Although pianist Hank Jones has been a major player since the mid-1940s, his classy swing-to-bop style still sounds fresh a half-century later. Both of his sidemen (bassist Mads Vinding and drummer Al Foster) were actually born in the mid- to late '40s, but they certainly have no difficulty communicating with the elder Jones. This fine trio workout finds the musicians digging into ten jazz standards (mostly from the 1950s and '60s) and coming up with fresh statements on such numbers as "Pent Up House," "Bloomdido," "Quintessence" and "Up Jumped Spring." A typically flawless and swinging effort from Hank Jones.

Although Tommy Flanagan tended to refer to two-piano dates as a gimmick, that's hardly the case during this superb 1983 concert in Germany with Hank Jones. The two pianists have the kind of feel for one another's playing that avoids the crash of egos and instead inspires the give and take necessary for each performance to reach its full potential. Immediately, the two veterans captivate their audience with a stunning aggressive improvisation upon Charlie Parker's "Relaxin' at Camarillo," then immediately quiet them with a soft, lyrical interpretation of the gorgeous ballad "In a Sentimental Mood." They're clearly having a lot of fun during their upbeat waltz through the popular ballad "Someday My Prince Will Come." The rest of the concert is every bit as fulfilling, with an inspired treatment of "Rockin' in Rhythm" getting the nod as the highlight of a memorable evening.

Hank Jones is often taken for granted because of his seemingly effortless ability at the piano, but this 1979 trio session with bassist George Duvivier and drummer Alan Dawson (both of whom are also top-flight players) finds him at the top of his game. The hard-driving opener, Toots Theilemans' "Bluesette," has fine solos by the leader and Duvivier, supported by Dawson's crisp brushwork. Jones shows off his stride piano chops in a jaunty take of "Blue and Sentimental," offers a swaggering take of "Things Ain't What They Used to Be," and a lush treatment of Duke Ellington's "Azure." But the most stunning performance of the session may very well be Jones' moving solo rendition of "St. James Infirmary."

Made for the French Black & Blue label and released in the U.S. on a Classic Jazz LP, this outing features pianist Hank Jones emphasizing the swing side of his flexible musical personality. Teamed up with bassist George Duvivier and drummer Oliver Jackson, Jones adds beauty and melodic ideas to such veteran numbers as "You Took Advantage of Me," "Love Walked In," "Like Someone In Love" and (easily the most recent tune) Bobby Timmons' "Dat Dere."

Pianist Hank Jones recorded many dates as a leader during the latter half of the 1970s. A superior transitional player whose two-handed style looks toward both swing and bop, Jones is mostly featured on this CD reissue of a Galaxy date in a trio with bassist Ray Brown and drummer Shelly Manne, although three numbers also welcome guitarist Howard Roberts. None of the seven compositions (by Jones, Brown, Pepper Adams, Thad Jones and J.J. Johnson, along with Sara Cassey's title cut) became well-known, but the fine interplay between the musicians and the concise and purposeful solos uplift the tunes.

Hank Jones has recorded in many different settings over the years, but this bop-third stream session blending a piano trio with a classical string quartet is one of his more unusual sessions. Jones, accompanied by bassist Rufus Reid and drummer Dennis Mackrel, is the primary soloist, though there is space for Reid as well, while the string quartet primarily provides color and contrast for the trio. The ten standards are arranged with flair by Manny Albam. While this sort of date is an acquired taste for some jazz fans, it is by no means a typical "with strings" session, due to Jones' considerable chops and Albam's imaginative charts. Highlights include the brisk bossa nova setting of "Softly, as in a Morning Sunrise" and the dramatic, upbeat scoring of "Caravan."

When this set was recorded, Hank Jones was the pianist in the Broadway show Ain't Misbehavin', a revue that celebrated Fats Waller's music. Jones never sounded like Waller, being a swing-to-bop transition player rather than a stride pianist, and he makes no effort to copy Fats during this brief program. Instead he plays five Waller compositions and the swing standard "Mean to Me" in his own style, hinting at Waller slightly in spots but essentially playing mainstream bop. Jones is joined by bassist Richard Davis, drummer Roy Haynes, and (on three of the six numbers) trumpeter Bob Ojeda, tenor-saxophonist Teddy Edwards, and guitarist Kenny Burrell. Swinging if not particularly memorable music.

Pianist Hank Jones teams up with bassist Ray Brown and drummer Jimmie Smith for this trio set which has been reissued on CD. An unusual aspect to the music is that on half of the eight standards Jones switches to electric piano; although he does not display as strong a musical personality on that instrument, he plays quite well. Highlights of the boppish set include "My Ship," "Rockin' in Rhythm," "Bag's Groove" and an effective instrumental version of "Your Feet's Too Big."

Hank Jones is marvelous in this 1978 trio date with bassist George Duvivier and drummer Alan Dawson, one of several dates they made together for Black & Blue in the latter part of the decade. It's hard to imagine any of these three superb musicians being in anything other than top form, and they do not disappoint. Jones' delightful tradeoffs with Dawson (on brushes) are the highlight of "A Foggy Day." The leader swings mightily in the oldie by Franz Lehár, "Yours Is My Heart Alone." The pop song "Come to Me" is successfully recast as a samba. "Alan's Allies" is a virtual master class for aspiring jazz drummers. The often low-key Duvivier provides terrific support without result to gimmickry. Like many of the reissues by the label during the late '90s, bonus tracks consisting of alternate takes of several numbers have been added.

Despite a frequent change of supporting players, pianist Hank Jones always produces rewarding sessions when he leads the Great Jazz Trio in a studio date. On the 1978 Great Jazz Trio Direct From L.A. disc made for the Japanese label East Wind, premier sidemen Ron Carter and Tony Williams are on hand. Right away Jones signals that he is in a playful mood, using Tchaikovsky's "Arabian Dance" (from The Nutcracker) to introduce and close a cooking rendition of "A Night in Tunisia." The treatment of "'Round About Midnight" is more straightforward, though Jones' style adds an elegant touch. His off-kilter introduction to the well-traveled "Satin Doll" keeps the song fresh. He transforms "My Funny Valentine" into a brisk loping waltz, with Carter and Williams providing imaginative support. If there's a bone to pick with this well-recorded CD, it is the miserly length of just 29 minutes.